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COPYRIGHT DEPOSIT. 



Price, 25 Cents. 



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PUBLISHED BY 

The* Dramatic PuBL,istiiNG Compaky 

CHA.ULES H SERGEL. . PRESIDENT 



Practical Instructions for 
Private Theatricals 

By W. D, EMERSON 
Author of "A Country Eomance," ''The Unknown Eival/'' 
"Humble Pie," etc. 



Price, 25 cents 



Here is a practical hand-book, describing in detail all the 
accessories, properties, scenes and apparatus necessary for an 
amateur production. In addition to the descriptions in words, 
everything is clearly shown in the numerous pictures, more 
than one hundred being inserted in the book. 2vo such useful 
book has ever been offered to the amateur players of any 
country. 

CONTENTS 

Chapter T. Introductory Remarks. 

Chapter II. Stage, How to Make, etc. In drawing-rooms 
or parlors, with sliding or hinged doors. In a single large 
room. The Curtain; how to attach it, and raise it, etc. 

Chapter III. Arrangement of Scenery. How to hang it. 
Drapery, tormentors, v^^ings, borders, drops. 

Chapter IV. Box Scenes. Center door pieces, plain wings, 
door wings, return pieces, etc. 

Chapter V. How to Light the Stage. Oil, gas and electric 
light. Footlights, Sidelights, Eefiectors. How to darken the 
stage, etc. 

Chapter VI. Stage Effects. "Wind, Eain, Thunder, Break- 
ing Glass,' Falling Buildings, Snov/, Water, Waves, Cascades, 
Passing Trains, Lightning, Chimes, Sound of Horses' Hoofs, 
Shots. 

Chapter VII. Scene Painting. 

Chapter VIII. A Word to the Property Man. 

Chapter IX. To the Stage Manager. 

Chapter X. The Business Manager. 

Address Orders to 
THE DRAMATIC PUBLISHING COMPANY 

CHICAGO, ILLINOIS 



GIUSEPPINA 



A PLAY IN ONE ACT 



BY 

THOMAS LITTLEFIELD MARBLE 



Copyright, iqoq, by Thk Dramatic PublishinCx Company 



CHICAGO AND NEW YORK 

THE DRAMATIC PUBLISHING COMPANY 



CHARACTERS. 



^^!.,^ 
^V"'^ 



Robert Sherwood, a reporter. 

Kate Pennington, his jEiancee. 

Monsieur Louis, proprietor of the Cafe Italy. 

PiETRO, a waiter. 

GiusEPPiNA, an Italian peasant girl. 

Place. — Private dining-room of an Italian restaurant in 
New York City. 

Time.— The Present. 

COSTUMES. 

Sherwood. — Evening clothes ; top-coat and opera hat. 
Kate. — Elaborate evening gown. 

Louis. — Neat business suit. 

PiETRO. — Waiter's livery. 

GiusEPPiNA. — Red and white striped skirt ; scarlet kerchief 
knotted over head ; large brass ear-rings. 

For the benefit of amateurs who cannot secure an or- 
chestra, it may be said that an excellent musical effect may. 
be obtained by the use of a large phonograph supplied with 
orchestral records. The first selection should be a spirited 
waltz ; the others of a more sombre character. The phono- 
graph should be placed in a room adjacent to the stage, and 
the door of the room opened and closed as the characters 
enter and exeunt. 

The following key to the pronunciation of certain Italian 
words used in the play may be of assistance. 

carissima =ca-ris'-e-ma mio =me^-o 

ecco =ec-co Pietro — Pe-a^-tro 

Giuseppina =Ju-se-pe'-na signore =se-nyo'-re 

grazia =grat'-ze-a signorina = se-ny6-re'-na 

2 

©CI.D 17365^ 



GIUSEPPINA 



Scene. — Private dining-room of an Italian restaurant. Door^ 
R. u. E., opening into hallway. Electric bell at side of 
door. Hat rack, c, back. Window, r. c, back, over- 
lookifig the city. Small dining-table, R. <z., front, ivith 
serving table near window. Chairs at right and left of 
di?iing-table. A second di?iing-table., at the extreme L., is 
concealed fro?n the view of those on stage by a thick row of 
potted palms. Chair at table. Ca?idelabra, flowers, etc., 
on tables. The walls are frescoed with brilliant scenes 
typical of Italian life, and there is a general atmosphere 
of festivity. 

(At rise of curtain, the door, r. u. e., opens, and the 
strains of an orchestra, the clatter of dishes afid the hum 
of co7iversation are heard outside. This continues till door 
is closed, whe?i the music is heard less distinctly. Enter 
Monsieur Louis and Kate Pennington through door. 
Kate wears an elaborate gow7i, opera cloak, etc.) 

Louis {graciously^. Zees vay, Mees Pennington. Mee- 
staire Sherwood he teleephone me to haf ze pahii room 
ready, and to fetch you here vhen you haf arrive. (Closes 
door., and assists Kate to remove cloak) 

Kate. The pahn room ? What does Rob mean, I won- 
der ? We're not usually so exclusive. I prefer the main 
dining-hall with the people and the music and all that sort of 
thing. It's half the fun of dining here. 

3* 



4 GIUSEPPINA. 

Louis. Oui. Zat ees jus' vhat I say vhen I — er — vhat 
you call heem ? — design ze Cafe Italy. Ze people zay vant 
color and spice and ze noveltee. Zay are seek of ze French 
restaurant. Zay vant a change : zay vish to eat ze macaroni. 
So I hire ze Dagoes for ze vaitaires, but I keep ze French 
cook, and — voila ! Eet ees ze Cafe Italy ! 

Kate {s?niling). Yes ; and we couldn't get along with- 
out it now. Why, you don't know how Rob and I enjoy our 
weekly dinner here. It is so cozy and restful after the 
week's work is over. We always go to the theatre after- 
ward, and if Rob is too busy to call for me, I venture in 
town alone and wait for him just as I am doing to-night. 

{Sound outside, as if made by the rising of an elevator, fol- 
lowed by the sliding of a 7?ietal door.) 

Louis. I do not think zat you vill haf to vait long. Zat 
ees ze elevaitaire now. {Goes to door, r. u. e., opens same, 
and looks off r. Sound of music, etc., as before) Oui, and 
here ees Meestaire Sherwood himself. (Starts) Parbleu ! 

(£nter Robert Sherwood and Giuseppina, r. u. e. The 

former wears evening clothes, light top-coat, and opera hat. 

The latter is dressed in a brilliantly colored costume of 

cheap material ; she has a scarlet kerchief knotted over 

her head, and wears large ear-rings.) 

Sherwood (quietly). Keep cool, Louis. I'll explain 
later. I w^ant to hide this young lady behind the palms 
there for a little while. By-and-by you may get her some- 
thing to eat — something to make her think of home — 
spaghetti, you know, or 

Giuseppina (smiling sweetly). Spa-ghet-ti 1 Ah, grazia, 
signore. 

Sherwood (good-hujnoredly). Well, yes ; but not just 
now. Come. (Leads her to table behind palms) Yes. 
Right over here. Now sit down. (She sits at table) Be 
comfortable. That's right. (Places fingers to his lips) Sh ! 
Not a word, remember. (Turns to Louis) She doesn't 
speak English, but I think she understands. Now, Louis, if 
you can spare Pietro, I'd like a heart to heart talk with him. 



GIUSEPPINA. 5 

Louis. Ver' well, sir. I vill send heem up. Ring if 
you vant me. {Bows loia) Au revoir. {Exit^ k. u. e.) 

(Sherwood removes iop-coat, hanging hat and coat o?i rack 
near door. He then takes seat at table opposite Kate.) 

Kate {piay/id/y). Well, Mr. Assurance, what have you 
to say for yourself ? 

Sherwood. A great deal, Miss Astonishment ; but I'm 
afraid there 's not time for explanation now. Pietro will be 
here directly. {Rises and looks in direction ^t/'Giuseppina) 
The palms conceal the little lady quite effectually, I think. 
Piecro will not notice her. {Musingly) He has treated her 
abominably. I — {Enter Pietro, r. u. e.) Ah, Pietro, good 
evening. 

GiusEPPiNA {i/i a tow whisper^. Pietro ! 

Pietro {effusively'). Goota eve', signore and signorina. 
Shall I serva da deener ? 

Sherwood. No, not just now. We're waiting for a 
vacant table in the other room. You may bring us a little 
of the red wine, if you please, and then wait over there by 
the window. I'm expecting a message, and may need you. 

Pietro. Vera goot, signore. {Exit., door.^ r. u. e.) 

Sherwood {returning to seat at table). Now, Kate, please 
be very interested in the story I'm going to tell, and do not 
mind if Pietro is unduly excited. I intend he shall be. 

Kate {mockingly). Gramercy, sir ! How very mys- 
terious ! 

{Enter Pietro, door^ r. u. e. He carries glasses and bottle or 
decanter of wine ; places glasses on table and fills the7n.) 

Pietro. Beholda da wine, signore. Eet ees red like-a 
da leeps of da signorina ; eet ees mild like-a da spreenga 
time in Eetalee. 

Kate {lauglwigly). Ha, ha, ha ! You are a poet, 
Pietro. 

Pietro. Grazia, signorina. Eet ees more poeteek be- 
hinda da palm'. Shall I move-a da table ? 

Sherwood {interruptiiig him). No, no. Just wait there 
by the window, please. I'll call if we need you again. 

Pietro. Si, signore. 



6 GIUSEPPINA. 

(PiETRO retires to wifidow. Pause. Sherwood fi/igers mine 
glass idly, then turns to Kate and speaks abruptly?) 

Sherwood. I was over at the docks this afternoon on 
board a European liner. We often pick up a good story 
among the immigrants, you know. 

Kate (with enthusiasm). Yes, I know. It's very inter- 
esting, isn't it ? I always think of those ocean liners as 
miniature worlds. From cabin to steerage ! The history of 
humanity is there. 

Sherwood. Yes ; and I never realized it more forcibly 
than to-day. I took an interpreter along, for the steerage 
was filled with foreigners, and I wanted to speak with them. 
I found a squalid, commonplace lot of beggars, though, and 
was about to return in disgust, when there in the lowest 
stratum of the ship's little world, I stumbled upon a better 
story than I had hoped to find. True, its motif is old — old 
as man's egoism and woman's love; but it's tinged with 
pathos, and rich in local color. It concerns a little Italian 
peasant girl. {Glances ^/Pietro from the corner of his eye) 
Her name is Giuseppina. 

PiETRO {giving an astonished start). Giuseppina! 

Sherwood {tur?iing toward wijidow). Did you speak, 
Pietro ? 

PiETRO. Ah, si, signore. I begga da pardona. I t'inka 
out louda. Excoosa me, signore and signorina. 

Sherwood. Oh, that's all right. {Turns to Kate) She 
was a very pretty girl, about eighteen, I fancy. Her hair 
and eyes were very dark, and her cheeks were red, — a deep, 
deep red like the tint of a Jacqueminot rose, and she wore 
the picturesque costume of her country. She seemed utterly 
bewildered when I found her, for the great, whole-souled 
America of her dreams had proved quite indifferent to her 
arrival. 

Kate {sympathetically^. Poor little girl 1 

Sherwood. Yes, so I thought, and I asked the inter- 
preter to talk with her. She laughed delightedly to hear 
her language spoken in a foreign land, and her eyes grew 
eloquent as she prattled on. She had come to America to 
geek her lover. It was all so very simple : a tale of ^biding 



GIUSEPPINA. 7 

faith and childlike innocence. It seemed a sacrilege to 
undeceive her. And yet a single glimpse of the city taught 
her more of life's unfathomable mystery than had all the 
years of her life at home. 

Kate. Was she so unsophisticated then ? 

Sherwood. Yes, she had no conception of the bigness 
of the world. Two years ago she was betrothed to a lad of 
her own station in Italy. He was an ambitious, enthusiastic 
fellow, a bit discontented with the opportunities at home, I 
dare say, and he determined to emigrate to America. {Turns 
to PiETRo) By the way, his name was like yours, Pietro. 

PiETRO {with agitation). Like mine, signore ? 

Sherwood. Yes ; and he resembled you in many ways. 
{Turns to Kate) Well, time went on. Pietro sailed for the 
land that knows neither peasant nor king, and Giuseppina 
stayed at home. 

Kate. The women always do. 

Sherwood. No, not always. Giuseppina didn't — long. 
At first Pietro wrote her the most wonderful letters. America 
was beautiful, lavish, golden, and there was work enough for 
all. Pietro did not choose to join the innumerable brother- 
hood of shovel and pick. Ah, no ! His temperament was 
too ethereal for that. And so he became a waiter at a little 
Italian restaurant here in New York. From that time on, 
his letters to Giuseppina dwindled in size and frequency, 
and finally they ceased altogether. It was a cruel blow for 
Giuseppina. The old tabbies who gossip said 

Kate {with interest). Ah ! They have them in Italy 
then. 

Sherwood {smiling). Yes, and they said that Pietro 
had forgotten; that he had found another girl in that far-off, 
crazy land, and they gave Giuseppina much good advice. 

Kate {grimly). Of course they did. 

Sherwood. But Giuseppina did not heed it. 

Kate {dryly). Naturally not. 

Sherwood. She believed deep down in her heart that 
Pietro was true to her, and she thought that only sickness Of 
death could explain his silence. 

Kate {with pit}'). Foolish little girl ! 

Sherwood. Froni morning till night she toiled in the 



8 GIUSEPPINA. 

sweltering fields to earn her passage money to America. Then 
at last she bade adieu to sunny Italy, and started in quest of 
her lover. That is the story she told me. She was very 
artless, very transparent 

Kate {quickly). Are you so sure of that ? May not your 
story be richer in local color than you think ? The vendetta 
thrives under sunny skies, you know. Perhaps little Giusep- 
pina is seeking vengeance instead of love. Perhaps she 
wishes to kill 

Sherwood {^quietly, but very dislinctly). Pietro ? 

(PiETRO trejnbles viokfitly.) 

Kate {with a quick glance at Pietro). No ; the woman. 

(PlETRO shows relief ; turns and staiids hwking out wiudoza.) 

Sherwood. You may be right ; still I have a feeling 
that there is no woman. I have a shrewd suspicion that 
Pietro has grown a bit ashamed of the little peasant girl. It 
is one of the things that our glorious land — the land of 
equality — has taught him. I could not tell Giuseppina this, 
for one who has not seen it cannot understand the height of 
lordly dignity to which a waiter may rise in this land of ours. 
But I'm going to find this Pietro if I can (I think I know 
where to look for him), and I'm going to let Giuseppina hear 
her fate from his lips. Who knows ? It may be that he 
loves her after all. (Turns toward Pietro) Tell me, 
Pietro. You should understand the Southern tempera- 
ment. Has your namesake forgotten the little peasant girl ? 

(Pietro re?nai?is a moment looking out window^ then turris 
suddenly, and comes down stage.) 

Pietro {with emotion). Forgotta her ? Ah, no, signore. 
He no forgetta Giuseppina. He only t'ink dat he forgetta. 
He ees mucha da fool — dis Pietro — and Eetalee ees vera far 
away. He — he — You say dat Giuseppina ees here ? 

Sherwood {quietly^. Yes, here in New York. 

PiE'iRO {tremulously). And she worka in da field' to 
earna da mon' to come to heem ? 

Sherwood {risi?ig). Yes, she toiled early and late, and 



GiusErriNA. 9 

with her Httle hands. They are very white and very soft 
little hands, Pietro. Really, she is hardly more than a 
child. 

Pietro {tragically). Ah, signore, I coulda keela myself 
froma da shame. Have peety, signore, and take me to da 
leetle peasant girl. 

Kate. Why, Pietro, what possible interest can you have 
in her ? 

Pietro {with agitation). She — she ees of my country, 
signorina, and I would like-a to helpa her. 

Kate. But why should you wish to kill yourself from 
shame ? 

Pietro {glibly). Ah, signorina, dat was whata you call a 
sleep of da tongue. I meanta dat — {Breaks down suddenly., 
and covers his face with his hands. Giuseppina appears 
deeply moved. Suddenly Pietro turns to Sherwood, and 
extends his hands in supplication) Ah, signore, I am no 
goota at da lie. I am dat Pietro who leave leetle Giusep- 
pina to worka in da field'. {Strikes his breast) Ecco ! I 
am da man. 

Sherwood {sternly). Yes, I know you are. You are 
the man who forgot. (Pietro cowers before hi??t) It would 
be a mercy to send Giuseppina back to her native land, and 
to ask her to pray the blessed Virgin that she too might for- 
get — forget that such a worthless scamp as you had ever 
crossed her path. It seems a pity that her heart should be 
in your keeping. She is such a pretty, refined little girl ! 
Heaven fashioned her for better things. {Pause) By Jove ! 
I'm going to do it. Fm going to tell her the truth. She 
will suffer at first, and the great tears will rise in those big 
black eyes of hers, but she'll get over it after a time, and 
will find some noble-hearted fellow a thousand times 
worthier than you who will make her life very happy. 

Pietro {beseechingly). Oh, signore, have peety ; have 
peety. I love Giuseppina. Do not send her away. I have 
been like-a da sailors in my country, signore. I have listen' 
to da voices dat sing on da rock'. My leetle boat has 
almos' been wreck', for I have turna my back to da way dat 
ees safe, and have looka only to da cleef where da sea-green 
signorinas comba da hair, and sing, and laugh, and tella me ; 



lO GIUSEPPINA. 

"Come on; we waita for you." But Giuseppina, she no 
forgetta. She speaka to me across da sea. She show me 
da goota way, and I have remember' before eet ees too late. 
Ah, signore, she ees beautiful like-a da summer night, and I 
love her. Her heart is tender, and she will forgive. Let 
me go to her. Da voices on da rock' calla me no more. 

(Kate rises, crosses slowly in front of table, and sta7ids before 
PiETRO. Sherwood crosses to l., and stands near the 
row of palms.) 

Kate {gefttly). Pietro, we women are very foolish. We 
sometimes forgive the men we love even though they have 
heeded the sirens' call. And so I'm going to plead for you 
— just for Giuseppina's sake, and because I am a woman. 
I am going to ask Mr. Sherwood to give you another 
chance. 

(Kate crosses to Sherwood, and Pietro goes up stage to 
window.) 

Sherwood. No need of that. The little girl shall decide 
for herself. (Goes behind palms) Giuseppina, you may 
come out now. (Gives Giuseppina his hand, and leads her 
to centre of stage) Pietro, here she is — the girl you had for- 
gotten. (Pietro turns\ Take her, and mind you treat her 
kindly. 

(Pietro stands mute 7ciith astonishment at the sight ^Giusep- 
pina. The latter smiles cojifdently, a?id moves a step or 
two in his direction). 

Giuseppina {softly). Pietro mio. 

Pietro (hoarsely). Giuseppina ! Carissima 1 

(Pietro rushes forward, and clasps Giuseppina /;/ his arms. 
Sherwood crosses to door and presses electric buttoti. 
Business of putting on coat and assisting Kate ivith cloak 
until Louis enters, door, r. u. e. Door is left open till 
end of act, and music is heard outside as before. As 
Louis enters, Sherwood turns towards hifn.) 

Sherwood (to Louis). Can you not arrange to give 



GIUSEPPINA. II 

Pietro a holiday? His little sweetheart has come over from 
Italy. They're going to be married to-morrow. 

(Pietro <^;/^Giuseppina refjtain clasped in each other' s arms. 
Louis stands near door, r. u. e., through which Kate 
and Sherwood exeunt^ 



CURTAIN. 



A Woman^s Honor 

A Dtama in Four Acts 

By JOHN A. FRASER 
Author of "A Noble Outcast," "Santiago," "Modern Ananias," etc. 

Price, 25 cents 

Seven male, three female characters. Plays two hours. For 
Intense dramatic action, thrilling climaxes, uproarious comedy and 
a story of absorbing romantic interest, actors, either professional 
c^ amateur, will find few plays to equal "A Woman's Honor." 
With careful rehearsals they will find a sure hit is made every time 
without difficulty. 

CAST OF CHARACTERS 

General Mark Lester. A Hero of the Cuban Ten Years' War.. Lead 

Pedro Mendez. His half brother Heavy 

Dr. Garcia. Surgeon of the Madaline Straight 

Gilbert Hall, M. D. In love with Olive Juvenile 

Robert Glenn. A Wall Street Banker Old man 

Gregory Giimes. Lester's Private Secretary Eccentric Comedy 

Ebenezer. Glenn's Butler Negro Comedy 

Olive f Glenn's I Juvenile lead 

Sally ( Daughters | Soubrette 

Maria. Wife of Pedro Character 

NOTE. — Glenn and Garcia may double. 

Act 1. The Glenn Mansion, New York City. 

Act 2. The Isle of Santa Cruz, off San Domingo. One month 
later. 

Acts 3 and 4. Lester's home at Santa Cruz. Five months later. 
Between Acts 3 and 4 one day elapses. 

SYNOPSIS OF INCIDENTS 

Act 1. Handsome drawingroom at Glenn's. Sally and Ebenezer, 
"I isn't imputtinent, no. no. Missy." "Papa can't bear Gregory 
Grimes, but I'm going to marry him, if I feel like it." "Going 
away?" "I was dizzy for a moment, that was all." "This mar- 
riage is absolutely necessary to prevent my disgrace." "General 
Lester, you are a noble man and I v/ill repay my father's debt of 
honor." "Robert Glenn is dead." 

Act 2. Isle of Santa Cruz. "Mark brings his American bride to 
his home today." "You .ind I and our child will be no better than 
servants." "How can I help but be happy with one so good and 
kind?" "It means that I am another man's wife." "Dat's mine; 
don't you go to readin' my lub lettahs in public." 

Act 3. Sitting-room in Lester's house. "What has happened?'' 
"Is my husband safe?" "Break away, give your little brother a 
chance." "To tell the truth, my heart is breaking." "Debt of 
duty! and I was fool enough to think she loved me." 

Act 4. "The illness of the general has an ugly look." "The 
gossips have it she would rejoice to be rid of her husband." "The 
Gilbert Hall I loved is dead." "Standing on the brink of the grave, 
my vision is clearer." "Forgive, and I will devote my life to 
making you happy in order to repay the debt I owe you — a debt oi 
honor." 

Addtz^ Occgfs to 

THE DRAMATIC P'JBLISHING COMPANY 

^i^^'lAOO, ILLINOIS 



Dumont^s 
Minstrel Joke Book 



Pt'ice, 25 cents 



A Collection of jokes arranged for End-Men. both professional and 
amateur. Never before collected and published in a clear mannei^ 
and with bright dialogue for End-Men and Interlocutor. They 
form, a book of the newest, most humorous and quaintest matter 
ever arranged. Any reader may, with assured success, deliver them 
to any assemblages before whom he may appear. 

Mr. Dumont himself says: "This collection of jokes and dia- 
logues is the careful gathering of years — and only the best and 
•sure laugh' producers are incorporated in this book." 



PARTIAL CONTENTS 

Arithmetic of Love, "Ask a Policeman," All about Novels, At Nia- 
gara Falls, "A. P. A." and Bricks, Advantages of Education, All 
Sorts, Army and its Soldiers, Bad Case ol Lying, Base Ball, Breach 
of Promise, Burglars, Boston's Correct Language, Bravery in Battle, 
Fishing, Funny Signs and Borrowed Pants, Fish makes Brains, 
Firing off the Cannon, Climatic Changes, Clancy as a Diver, 
"Couldn't find a Policeman," Colonel Pepper, "Curiosities for Mu- 
seums," Conundrums, Cruelty to Animals, Country and Don't Drink, 
Couldn't take the Job, Comic Recitations, Cork Leg, "Casablanca," 
"Dreams," Ducks and Indians, Dutchman's Bet, "Daniel," Eating 
Dumplings, Epitaphs, Editing a Newspaper, Eating by Weight, Ed- 
ucated Horse, The Mule Battery, "Making Both Ends Meet," The 
Mind Reader, Missed the Hearse, Mixed Breed of Chickens, Married 
into a mean Family, Making a Pair of Shoes, Man's Ribs and Angel 
Cake, The New Poet, Never Happened, On the Battlefield, Off to the 
Seat of War, Our Brothers, Old Cider Barrel, Origin of Songs, 
Opinion on Man and Woman, Gratitude, Hotel Regulations, Hold 
your Head Up, How is Business, How Different Girls Kiss, Hash 
for the Navy, "Has not Caught Me Yet," Irish Monologue, It Runs 
in the Family, "If a River were between all Men and Women," 
Jumping Frog, Kissing, Kiss Sociable, Keep off the Grass, Kissing 
in the Tunnel, Lawyer and Doctor, Lost Umbrella, Liquor Assists 
Nature, Learning the Bike, Love and Matrimony, Law in Alaska, 
Shoemaker's Daughter, Singing at the Party, Storm at Sea, Spot- 
ted Dog, Swallowed an Egg, Second Time on Earth, Signs, Sorry 
he didn't Take it Cold, Progress, Parson's Sermon on Crap Shoot- 
ing, Poultry and Fruit, Power of Language, Perhaps I Will and 
Perhaps I Won't, Peculiarities of Speech, Pumpkin Pie, Patriotic 
Alphabet, Queer Advertisements, Ragged Jacket, Raising Grass- 
iioppers. Taught His Wife a Lesson, Thought it was a Boat-race, 
The Telephone, Thief with a Roman Nose, Taxes on Luxuries, 
Transfusion of Blood, Took the Dead Mans' Dollar, Two Good Liars, 
Three Realistic Dreams, Takes It just the same. "Twinkle, Twinkle 
Little Star," Very Good Tip, Very Large Punch Bowl, Very Mean 
Father, "We are Letters," "Went Home for his Pipe," "Why is a 
Ship called "She?" "What is Love?" "We are all Bottles," "Wish 
the Gun had gone off," Writing a Novel. 

Address Orders to 

THE DRAMATIC PUBLISHING COMPANY 

CHICAGO. ILLINOIS 



Hickory Farm 

A Comedy Drama of New England Life 
in Two Acts 



By EDWIN M. STERN 



Pricct 25 cents 



Six male, two female characters. The play deals with the same 
phases of life as "The Old Homestead" and "The County Fair," 
and is written in the same comedy vein which has rendered these 
two pieces so popular. The courtship of the Irish alderman is one 
of the most ludicrous scenes ever written, while the scenes between 
the old farmer and his daughter are most touching and pathetic. 
Scenery, a set cottage and a plain room. Costumes of the day. 
Time of playing, an hour and a half. 



SYNOPSIS OF INCIDENTS 
ACT I — Hickory Farm House 

Darkwood's Plot — Skinner tempted — Money! Gold! — Zekiel ap- 
pears — "Be you Ann Maria's boy?" — Fortune's reminiscences — The 
deed must be stolen! — Hard cider — Aunt Priscilla's love — The alder- 
man's brogue — "Dear departed Hezekiah" — Jessie's secret — "Then 
you still love me?" — "Larry McKeegan's courtin' " — The "widdy" 
succumbs — "Zekiel's fav'rit' song" — McKeegan's ghost — Jack Nel- 
son makes a discovery — Jessie has gone! — "Heaven help me!" — 
Zekiel's prayer. 

ACT II — In Fortune's Shanty 

Zekiel's misfortunes — The rent collector — Darkwood's insult — 
"Villain, you lie!" — Skinner's remorse — The New York detective — 
The bank robbery — Darkwood threatens — Jessie returns — The alder- 
man married — "Sure it's a darlint little woife she is" — Zekiel's hap- 
piness — "Gosh! I ain't felt so gol-darned happy sinct I wuz a boy" 
■ — A trap for Darkwood — Jack and Jessie reunited — Prise Jla caci- 
fied— Darkwood at bay— "Stand aside, as you value your lives'"^^ 
The detective fires — "You've done for me this time!" — Zefit^i * ^^M"" 
giveness — Old Hick'ry farm restored. 

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THE DRAMATIC PUBLISHING COMPANY 

CHICAGO. DLUNOIS 



Because I Love You 

Drama in Four Acts 

By JOHN A. FRASER 

Author of "A Woman's Honor," "A Noble Outcast," "A Modem 

Ananias," "Santiago," etc. 

Price, 25 cents 

Eight male, four female characters. Plays two hours. Modem 
costumes. This is probably the strongest drama written of the 
modern romantic style. It is a pure love story and its sentiment 
and pathos are of the sterling, honest kind which appeals to every 
man and woman with a human heart. The stage business will be 
found extremely novel, but easily accomplished. The climaxes are 
all new and tremendously effective. One climax especially has 
never been surpassed. 

CAST OF CHARACTERS 

Imogene Courtleigh. Wilful, wayward and wealthy. .. .Juvenile lead 

Ginger. A Gypsy waif Soubrette 

Nance Tyson. Her supposed mother Character 

Prudence Freeheart. A poor relation Old maid comedy 

Horace Verner. An artist and accidentally a married man 

Juvenile lead 

Dick Potts. His chum and incidentally in love with Ginger 

Eccentric comedy 

Ira Courtleigh. Imogene's guardian Heavy 

Buck Tyson. A Gypsy tinker Character comedy 

Elmer Van Sittert. Anglomaniac, New Yorker Dude comedy 

Major Duffy. County Clerk and Confederate veteran 

Irish comedy 

Squire Ripley. A Virginia landlord Character old man 

Lige. A gentleman of color Negro character 

Note: Squire Ripley and Van Sittert may double. 

SYNOPSIS OF SCENES 

Act 1. "The George Washington," a country tavern in old Vir- 
ginia. An impromptu wedding. "When I was on the boards at 
old Pott's theayter." "Horace has fallen in love and has done 
nothing but rave about her ever since." "The marriage ceremony 
performed, I depart, and you will make no attempt ever to see me 
again." "Except at your own request, never!" 

Act 2. Lovers' Leap, a Blue Mountain precipice. A daring res- 
cue. "Gold does not always purchase happiness, lady." "Do you 
ever feel the need of a faithful friend?" "I do, I do, I'm thinking of 
buying a bulldog." "Look at the stride of him, and Imogene 
sitting him as if he were a part of herself." Within twenty feet 
of certain death. "Gone? Without even my thanks for such a 
deed of desperate heroism?" 

Act. 3. The Courtleigh Place. A woman's folly. "And you say 
his father was a gentleman?" "I have already refused to sign the 
document." "Stand back, she is my wife." 

Act. 4. The "Mountain Studio." "You're too good to let that 
French girl get you." "I struck him full in the face and the chal- 
lenge followed." "You will not meet this man, dear love?" "It 
shall, at least, be blow for blow." "I'll release you from your 
promise. Fight that man." "I'm the happiest man in old Vir- 
jfi:iia, because you love me." 

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THE DRAMATIC PUBLISHING COMPANY 

CHICAGC. ILLINOIS 



The Outcast^s Daughter t g^ Acts 

By MARION EDDY PRICE, 25 CENTS 

Ten male, five female and one child characters. Plays two and 
one-half hours. Modern costumes. Three interior, one exterior 
scenes, all easily arranged where there is any scenery at hand. No 
stronger melodrama has been given the play-loving public. Full of 
the strongest appealing heart interest, intense, pathetic, real life, 
where joy and laughter are mingled with pathos and suffering, but 
all ending happily. A melodrama without a villain or the use of 
firearms. Amateurs may play it successfully, it plays itself, and 
it is adapted to strong repertoire companies. 

CAST OF CHARACTERS 

Carl Faber An ex-convict 

Howard Ross A manufacturer 

Dennis Hogan Servant to Ross 

Abel 7 Gardener to Ross 

Judge Havens Of the police court 

Recorder Of the police court 

Lettner Clerk of police court 

Second Court Clerk Clerk of police court 

Two policemen 

Little Hugo Agatha's child 

Agatha Steme Ross' bookkeeper 

Ida Rheinhold A retired singer 

Mrs. Wilmuth A washerwoman 

Katie Factory girl 

Frances Factory girl 

SYNOPSIS OF SCENES 

Act 1. Ross' private office. "What has given me the honor of 
this visit?" "I will never sing again. My life has been a sad 
failure." "Good God! My mother!" "I have done wrong, I confess, 
but when a mother asks, a child must forgive. Oh, Mr. Ross, help 
me." "You, my rich and famous mother, to you I was nothing, 
and you — you are nothing — nothing to me." "Agatha! Agatha! 
My child! My child!" 

Act 2. Agatha's attic. "My poor father. So young and strong. 
How I could have loved him." "Yes, Katie is right, I have nothing 
but bread for my sweet child." "Madam, I vould lie if I say she 
vas anything but a lady." "On the other side, towards the garden, 
there are a few rooms I have never used. If you will take 
them " "You do not look like a man who could commit mur- 
der. How was it?" "I was a weak man and many misfortunes 
made me desperate." "My picture! I must be mad." "You are 
good, child, but you shall not call me father." "Father! Father!" 

Act 3. Ross' Garden. "He is so good to me, but I cannot forget 
my poor unhappy father." "The picture was taken when I was 
young. He shall have it." "Stay here and be my wife." "That 
suspicious old man is in the garden." "For her I sacrificed every- 
thing." "Do you want to go to prison again?" "My father needs 
me to defend and comfort him." 

Act 4. A Police Court. "Do not ask me, your honor — I am an 
«x-convict." "Your silence will not help you." "It vas dark und 
Mrs. Steme vas that scared she vas faint." "I hope, sor, yer honor 
believes in a future life, sor." "He wished to see his child; I am 
his child." "Grandfather, we love you." "I am his wife. Do not 
condemn him." 

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THE DRAMATIC PUBLISHING COMPANY 

CHICAGO. QXINOId 



NOV 27 1909 



Hageman^s Make-Up Book 

By MAURICE HAGEMAN 

Price, 25 cents 

The importance of an effective make-up is becoming more appar- 
ent to the professional actor every year, but hitherto there has been 
no booli on the subject describing the modern methods and at the 
same time covering all branches of the art. This want has now- 
been filled. Mr. Hageman has had an experience of twenty years 
as actor and stage-manager, and his well-known literary ability has 
enabled him to put the knowledge so gained into shape to be of 
use to others. The book is an encyclopedia of the art of making up. 
Every branch of the subject is exhaustively treated, and few ques- 
tions can be asked by professional or amateur that cannot be an- 
swered by this admirable hand-book. It is not only the best make- 
':p book ever published, but it is not likely to be superseded by 
dny other. It is absolutely indispensable to every ambitious actor. 

CONTENTS 

Chapter I. General Remarks. 

Chapter II. Grease-Paints, their origin, components and use. 

Chapter III. The Make-up Box. Grease-Paints. Mirrors, Face 
Powder and Puff, Exora Cream. Rouge. Liquid Color, Grenadine, 
Blue for the Eyelids, Brilliantine for the Hair. Nose Putty, Wig 
Paste, Mascaro. Crape Hair, Spirit Gum. Scissors, Artists' Stomps, 
Cold Cream, Cocoa Butter, Recipes for Cold Cream. 

Chapter IV. Preliminaries before Making up; the Straight Make- 
up and how to remove it. 

Chapter V. Remarks to Ladies. Liquid Creams, Rouge, Lips, 
Eyebrows, Eyelashes, Character Roles, Jewelry, Removing Make-up. 

Chapter VI. Juveniles. Straight Juvenile Make-up, Society 
Men, Young Men in 111 Health, with Red Wigs, Rococo Make-up, 
Hands, Wrists, Cheeks, etc. 

Chapter VII. Adults, Middle Aged and Old Men. Ordinary Type 
of Manhood, Lining Colors, Wrinkles, Rouge, Sickly and Healthy 
Old Age, Ruddy Complexions. 

Chapter VIII. Comedy and Character Make-ups. Comedy Ef- 
fects, Wigs. Beards, Eyebrows, Noses, Lips, Pallor of Death. 

Chapter IX. The Human Features. The Mouth and Lips, the 
Eyes and Eyelids, the Nose, the Chin, the Ear, the Teeth, 

Chapter X. Other Exposed Parts of the Human Anatomy. 

Chapter XI. Wigs, Beards, Moustaches, and Eyebrows. Choosing 
a Wig, Powdering the Hair, Dimensions for Wigs, Wig Bands, Bald 
Wigs. Ladies' Wigs, Beards on Wire, on Gauze, Crape Hair, Wool, 
Beards for Tramps, Moustaches, Eyebrows. 

Chapter XII. Distinctive and Traditional Characteristics. North 
American Indians, New England Farmers. Hoosiers, Southerners, 
Politicians, Cowboys, Minors, Quakers, Tramps, Creoles, Mulattoes, 
Quadroons, Octoroons, Negroes, Soldiers during War, Soldiers dur- 
ing Peace, Scouts, Pathfinders, Puritans, Early Dutch Settlers, 
Englishm.en, Scotchmen, Irishmen, Frenchmen, Italians, Spaniards, 
Portuguese, South Americans, Scandinavians, Germans, Hollanders. 
Hungarians, Gipsies, Russians, Turks, Arabs, IMoors, CafRrs, Abys- 
sinians, Hindoos, Malays, Chinese, Japanese, Clowns and Statuary, 
Hebrews, Drunkards, Lunatics, Idiots, Misers, Rogues. 

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THE DRAMATIC PUBLISHING COMPANY 

CHICAGO, ILLINOIS 



NOV 15 19'>o 



PLAYS. 

DEING the largest theatrical booksellers m 
^ the United States, we keep in stock the most 
complete and best assorted lines of plays and 
entertainment books to be found in this couiitr>'. 
We can supply any play or book pub- 
lished. We have issued a 144-page catalogue 
of the best 1500 plays and entertainment books 
published in the U. S. and England. It con- 
tains a full description of each play, giving 
number of characters, time of playing, scenery, 
costumes, etc. This catalogue will be sent free 
on application. 

The plays described are suitable for am- 
ateurs and professionals, and nearly all of them 
may be performed free of royalty. Persons in- 
terested in dramatic books should examine oul 
catalogue before ordering elsewhere. 

The Dramatic Publishing Companv, 

CHICAGO. 



UBRARY OF CONGRESS 




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